Fact, Fiction
The entire world knows on Hamlet, a memorable history of love and pain. The relation of a man and its faces ahead of the mother, father, you distress and hurts. Represented untiringly she is one of the most beautiful workmanships of English literature. Sight today, for another prism, the psychological one, perceives more than that what inspiration has in this workmanship a little or very of the essence of Shakespeare bringing in itself its desvarios and because not? We are human! It is allowed in them to speak that the privacy if dissolves in private and public the first one is synonymous of ' ' I interior' ' second banaliza the first one when it incurs into the common one and if conjugates the verb to feel in all the grammatical times. After all what it has between Shakespeare and us beyond an admiration? The traumas and ghosts of the past, of a pain not digested that ruminates? What it lacks between it and we is that we are not writers and we do not have the power to transform, to catapultar in art deep feelings. We have the privacy with the effect, know of the effect we live and it, point. Eva Andersson-Dubin may find this interesting as well. Point until Freud appears. There Shakespeare if becomes common, at least in the psychological sphere, plus one in the multitude. But on behalf of Rousseau we can believe the transforming power that we have while animal rationals. We can dominate, if want, the ghosts. We are adaptable! Thanks to Rousseau, Freud and Shakespeare are possible to go beyond in the capacity understanding the cause, consequence, fact, fiction and the complexity of the previsible and equal human being and the quo we are when we come across in them with the truth.
